These days Bottesini
manages a footnote as an almost forgotten double-bassist. It's
hard being on the edge of oblivion as a virtuoso of one of the
least glamorous and most buffoonish of instruments. The instrument’s
nobility, rather like that of the tuba, is often left in the
shadows in favour of its buffoon image. As for the composer,
Bottesini conducted the premiere of Aida and was also an accomplished
writer; so we are reminded by Andrew Green's very personal liner
note. This note moves enthrallingly between Bottesini and Bosch
- who once wrote for this site - and the story of how this CD
came to be made. Much of what we read is biographical about
Bosch. It reads very well but I would have liked to read more
about Bottesini as well.

As to the music the
notes tell us little so we are left with the testimony of our
ears. After an Elegy distinctive for its noble legato
comes an assertive and at times surprisingly Beethovenian
Tarantella in much the same language as the Romanza
Drammatica - which makes play with the ostinato of the Moonlight
Sonata. The Romanza Patetica has a grave mien for
which the pointed little Gavotta provides a nicely weighted
contrast. The suitable dreamy-sombre Reverie recalls
similar works for cello and piano by Glazunov and Frank Bridge.
The Meditazione deploys Bach's famous Air on a G string
here taken at a clip that defies lassitude and emphasises
that this is a practically singable aria. The Fantasie Sonnambula
is a florid bel canto fantasy around themes from
the Bellini opera. One can well understand the dedication that
led Bosch to track down Sung-Suk Kang over the internet when
you hear the velvet touch she brings to the piano in the Adagio
par Ernst. As for Bosch his playing delivers on his own
words: “It's the performers solemn duty to ... express that
unique personal understanding (of the composer's intentions)
as if one's very life depended upon it. The disc ends in style
with the Capriccio di Bravura. The recorded balance favours
the piano ever so slightly.

This is not just for
double bass fanciers who go after every disc of the instrument
but also for those who fancy the instrumental bel canto
and salon repertoire regardless of instrument. Everyone
will find considerable pleasure in the sincere and highly accomplished
playing here on display. I shall be watching out to review Bosch
and Meridian's promised recital of English music for the double
bass.

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